The Center for the Art of East Asia organizes an annual symposium to bring together new scholarship on East Asian art and visual culture to encourage new perspectives and sharing of methodologies through inter-disciplinary communication and collaboration.
April 21-23, 2017
Regenstein Library Room 122 & Logan Center for the Arts at the University of Chicago
The symposium title refers to the East Asian coupling of writing and picturing (calligraphy and painting). Its intention is to reexamine the cross-medial practices including their materials and tools, that have been thoroughly redefined and expanded from the ancient pair of “ink” and “brush.” Today in new global practices, ink can be spray paint, digital pixels, video imagery, or even performative gestures, while brush to apply them encompasses spray cans, computer software, the camera, the artist’s body, or any other tools deployed by contemporary artists. Participants will discuss future directions in both museological and art-historical studies to bridge the established studies of modernist art history and the newly evolving contemporary art history.
May 22-23, 2015
The symposium was organized to explore and reassess the roles of photography in the development of modern East Asian art. Areas of focus included the publication of new kinds of art journals and catalogues, large-scale surveys of ancient monuments and archaeological sites with published photographs, the canonization of famous masterpieces, the interrelationship and mutual influences between photography and art forms, the emergence of art photography as a modern art genre, and the use of photography in the practices of individual during the nineteenth and twentieth centuries. A volume of collected papers is planned
May 25-26, 2014
Recent research on the interaction of different religious traditions, textual sources and ritual practices in East Asia is related to the production of religious art. The participants in this symposium attempt to contextualize religious images in social and ritual environments. Buddhist and Daoist beliefs and funerary practices for commemoration of the deceased were frequently interrelated in the production, function and form of many works of art. The papers explore the relationship between religious devotion and cult of the dead on historical, cultural, and theoretical levels to show larger historical patterns in the creation of tombs, temples, images and offerings. The publication of a volume of collected papers is forthcoming.
September 6-7, 2014
How are the research, display, and collecting of Japanese art shaped by late nineteenth-century Western terms today? Is it possible to modify or jettison some of these and still be comprehensible in the global field of art history? How does Japanese art history establish distinctions between “Japan,” “Asia,” “the West,” “early modern,” “modern,” and “contemporary”? How do the legacies of Orientalism and Japonisme continue to shape perceptions of Japanese art today? Are the categories of “painting,” “sculpture,” “craft,” and so forth impeding other visions of the history of objects in East Asia?
April 28, 2012
Conceptions of medium have long shaped the presumptive fields of modern and contemporary art, but particularly with regard to modern and contemporary art in East Asia. In many respects, the very history of this field might be configured in the lines drawn between oil and ink, figuration and abstraction, and “fine” art and craft. Many of these divisions were enacted to work through evolving definitions of culture, nationality, ethnicity, and race throughout the 19th and 20th centuries. Particular media were celebrated for their supposed capacity to authentically, or “purely” embody the sensibilities of a particular nation, culture, or race. This was often in direct odds with the artworks themselves, which were the result of sustained negotiations with diverse, and frequently, divergent, ways of thinking about form.
May 26-27, 2012
Nearly thirty years ago, Denis Twitchett attempted to craft a volume of the Cambridge History of China that would cover this seminal period of division between the mighty Han and Tang empires; however, due to the fact that there were not enough specialists in this field, the volume failed to materialize. The Six Dynasties Period (220-589) witnessed long-standing and widespread political fragmentation. Despite the tumultuous circumstances, the arts flourished as never before: lyric poetry reached new heights, calligraphy became an art form in itself, paintings by individuals known as artists are recorded, and stone statuary became a major art formThe art and visual culture of this period was the focus of the three-year “Between the Han and Tang” project organized by Wu Hung and Katherine Tsiang (1999-2001). At the same time, even though ritual and material life maintained strong continuities with the past, they became enriched and invigorated by the amalgamation of both steppe and Chinese influences. However, the scholarship on this period as a whole has been fragmented and has not fully recognized its transformative importance for Chinese history. To fill the gap, Albert Dien, Professor Emeritus of Asian Languages at Stanford University and Keith Knapp, Professor and Chair of the History Department at The Citadel, are working together to create the Cambridge History of China: Volume Two, The Six Dynasties. This is the first meeting of authors to share their research and discuss their topics in the context of the larger volume. It also provides a rare opportunity for the academic community in the Chicago area to participate.
The Screen in East Asia
May 6-8, 2011
As a fixture of daily life and ceremonial culture in East Asia for more than a thousand years, the folding or standing screen deserves is considered from multiple perspectives, including those of archaeology, architecture, literature, art, history, gender, and sociology. As gifts, furnishings, and formats for painting and calligraphy, screens circulated throughout East Asia and between Asia and the West. Yet despite their position at the juncture of different regional and disciplinary perspectives, they were literally relegated to the background, where they functioned as supports for painting or as objects that stood behind important people and things. This symposium explores the complexity of screens as an art form in two and three dimensions, one that frames, divides and conceals and creates spaces and that is produced from a variety of media and materials. Publication of a collection of the papers is forthcoming.
May 29-30, 2009, May 14-15, 2010
April 12-13, 2008
Reinventing the Past: Antiquarianism in East Asian Art and Visual Culture, Part 1 and 2
May, 2006, November 3-5, 2006
Rethinking the Field of East Asian Art History
From Prints to Photography
A collaborative project involving five academic and research institutions in the U.S. and China that held a series of three conferences and has resulted in the publication of three volumes of research papers.
Living Icons in Five Traditions: Theories and Practices
Ruins in Chinese Visual Culture